刘琪毕业设计.docx

刘琪毕业设计.docx

《刘琪毕业设计.docx》由会员分享，可在线阅读，更多相关《刘琪毕业设计.docx（38页珍藏版）》请在冰豆网上搜索。

刘琪毕业设计

LANZHOUUNIVERSITYOFTECHNOLOGY

毕业设计（论文）

题目

学生姓名

学号

专业班级

指导教师

学院

答辩日期

摘要

随着文化生活水平的提高，人们对文化艺术的要求随之增长，舞台作为各种演出场所文化艺术的重要载体，对它的发展也就提出了更高的要求，现代化的舞台机械控制系统不仅要实现功能丰富，其可靠性、易操作性等也必须达到更高的要求。

目前国内舞台技术总体上要落后于发达国家，大型舞台机械控制系统一般都引进国外的产品，成本相对较高。

因此为推动我国舞台技术的发展，对本课题的研究也显得更加有意义。

传统的舞台机械控制系统多采用继电器、接触器控制方式，系统的可靠性较差。

可编程控制器是传统的继电器接触器控制方式与计算机技术的完美结合，具有可靠性高，编程直观容的特点，已广泛应用于工业控制中。

舞台机械控制也经历了从继电器接触器到PLC控制和微机控制的过程。

对本课题的研究旨在开发出能够满足现代舞台技术发展需要的单点吊机控制系统。

本文构建了一个基于Profibus-DP现场总线的分布式单点吊机控制系统，由一台PLC和多台变频器构成主从式结构。

通过连接于变频器上的编码器采集到的数字量以及限位开关采集到开关量,由Profibus-DP负责PLC和变频器的通信，再通过以太网与IPC机连接，并由IPC直接控制舞台机械设备的运行，IPC将下位机传送过来的数据进行处理，同时下达控制命令给PLC，以实现集中管理和最优控制。

关键词：

分布式控制系统；舞台机械；变频器；可编程逻辑控制器；

外文翻译

CasadeMúsica（houseofmusic）

DanGoldsteinreportsfromthePortuguesecityofPortowheretheCasadaMúsicavenuehastransformedtheculturallifeofthecity...

Hard-working,industrious,dynamicandstylish,Portugal’ssecondcity,Porto,doesnotliketoshoutaboutitssuccess.Here’sagoodexample.TonyBlair,BillClinton,JoséMourinhoandKingJuanCarlosofSpainallwearcreationsbythecity’sfavouritemen’sfashionlabel,VicriPorto.Withaclientlistlikethat,VicricouldbeasbigasBurberry,DunhillorPaulSmith.Yetthelabelremainssoobscurethat,ifyoutype‘Vicri’intotheaveragewebfashionsearchengine,you’regreetedwiththequestion:

‘DidyoumeanVicki?

’

VisitorstoPortoaregreetedwiththesamesenseofunderstatement.Thecityishuge,historic,beautifulandspectacularlyset.Yetsomehowitseemstolackpassion.Itsstreetscanbeeerilyquietand,asthemistrollsinofftheAtlanticintheearlyevening,shopandrestaurantdoorsclosealarminglyearly.

ItwasagainstthisbackdropofalmostinstitutionalisedsubtletythattheCasadaMúsicaemergedasastunningarchitecturallandmarkinApril2005.TheNewYorkTimesdescribedthebuilding,whichwasdesignedbyateamfromtheDutcharchitecturalpartnershipOMAledbyRemKoolhaas,as“achiselledconcreteform,restingonacarpetofpolishedstone,”suggesting“abombabouttoexplode”and“packedwithurbanenergy,asifinresponsetoPorto’ssleepyatmosphere”.

Noexplosionshavebeenreportedasyet,buttherecanbelittledoubtthattheCasadaMúsicahastransformedtheculturallifeofthecitythatcommissionedit.Foronething,ithasprovidedapermanenthomeforthreeorchestrasthathadpreviouslybeenforcedtoleadanomadicexistence:

theOrquestraNacionaldoPorto,theOrquestraBarrocaandtheRemixEnsemble.Justasimportant,ithasalsoactedasamagnetfortouringmusiciansfromacrosstheglobe-artistswho,untilthreeyearsago,mighthaveviewedPortoasnomoreacompellingstop-offpointonEurope’sperformingartsmapthanLloretdeMarorHastings.

TheCasa’sbluff,multi-facetedexteriorconcealsanequallystrikinginteriordesign.Takingusonatechnicaltour,thevenue’sTechnicalProductionManager,ErnestoCosta,explainsthethinkingbehinditsstructure.“Wehavetwohalls:

thelargeSalaSuggia,whichcanholdupto1,280peopledependingonitsconfiguration,andthesmallerSala2,whichhasnofixedseatingorstaging,”Costasays,“andthearchitecturalconceptisthateverythingrevolvesaroundtheSalaSuggia,withaseriesofglass-walledroomssurroundingit.Theseroomscanbeusedforavarietyofpurposes,andtheirwindowsareframedwithLEDfixtureswhichcanbebroughtundercentralised,DMXcontrolsothattheyarepartoftheperformanceinthemainhall,ifthatiswhat’srequired.”

CostaplayedakeyroleindesigningtheCasa’stechnicalinfrastructure,effectivelyactingasalinkbetweenthevenue’sprojectarchitectsandinteriordesignersontheonehand,andthein-houseAV,lightingandartisticdepartmentsontheother.Costa’sfavouredapproach,whichhehasalsoimplementedatotherperformancevenuesinPortugal,istouseaUTPinfrastructureforthedistributionofaudio,video,lightingcontrolandotherdata.“Thismeanswearenottiedtoaparticularprotocol,butcanusedifferentmethodsofdatatransportfordifferentareasofthebuilding,”hepointsout.

Typically,UTPnetworkstaketheformofa‘star’configuration,withacentralrackroomprovidingahubthatdistributesdatatoandfromdifferentareasofabuilding.ButCostasaysthatwithavenuethesizeofCasadaMúsica,“ifyourelyonastarnetwork,youcanendupwiththedatahavingtotravelverylongdistances,andwithacopperinfrastructurethatcanleadtolatencyissues”.Hissolutionistousesplitterstocreatea‘circle’aroundthepointsofthestar,sothateachdatanodeisconnectedtothenext,aswellastothehub.Thisapproachisparticularlywell-suitedtotheCasadaMúsica,whereflexibilityofconfigurationhasturnedouttobekeytothevenue’ssuccess.

Foraprimeexampleofthis,youneedlooknofurtherthantheSalaSuggiaitself.Originally,anelevated,glass-frontedcabintotheleftoftheauditorium（facingthestage）wasintendedtoactastheFOHpositionandwiredupaccordingly.Yetforanynumberofreasons-fromsight-lines,inthecaseoflighting,tointelligibility,inthecaseofsound-thecabinquicklyprovedimpractical.However,thankstoCosta’s‘circle-and-star’UTPbackbone,lightingandaudiodeskshavebeenmovedtoamoreconventionallocationattherearofthehallwithoutmuchdifficulty,whilethecabinremainsusableasanauxiliarycontrolpoint,aswellashometoaGhielmettipatchingsystemwhichdistributesupto64channelsofdigitalaudiotoSala2andtheCasa’saudioediting/recordingfacility,andtoapairofAteïsUAP88audiomatrixunitsthatformpartofavenue-widepublicaddresssystem.

SalaSuggia’sdesignistheresultofacollaborationbetweenOMA,Arup-AFAandLevelAcoustics,aDutch-basedconsultancyrunbyRenzvanLuxemburg.Visuallyitisthoroughlymodernist,withlargeareasofglass（notleastinthevastwindowareabehindthestage）andlightwood,butwithanumberofunexpectedbaroquedetails-mostnotablyreplicasoftwoperiodpipeorgans,oneoneachsidewall.“EachoftheseisbasedonarealorganinoneofPorto’shistoricchurches,”explainsCosta.“Theyarenotfunctioninginstruments,buttheyarenotjustforshow-theyaremadefromacombinationofwoodandGRPandwereaddedtotheroomtoprovidesomemuch-neededacousticabsorption.”

CostadescribesSalaSuggiaas“notaneasyroom”,withahostofreflectivesurfaces-mostobviouslytherearglasswallandglassfrontedbalconiesandadjoiningrooms-thatcontinuetochallengehimandhiscolleagues.Complicatingtheissuefurtheristhefactthatthehall’srangeofuseshasturnedouttobebroaderthanwasoriginallyenvisagedwhenCasadaMúsicawasfirstbuilt.“IncontrasttoSala2,whichwasalwaysconceivedasamulti-purposespace,SalaSuggiawasdesignedbyateamthatwasverymuchorientatedtowardsanacousticrepertoire,”saysCosta.“Therealitynowisthatwegofromclassicaltojazz,worldmusicandpop,sowhatwearedoingiscreatingarebirthoftheroom.”Akeypartofthis‘rebirth’processhasbeentheprovisionofafixedloudspeakersystemforthefirsttimeinthevenue’shistory.“Forthreeyears,werentedourloudspeakers,andduringthattimewetestedmanydifferentsystems,”saysCosta.“Thepreferredsystemamongourengineers,amongthemusicianswhoplayhereandamongourownartisticstaffwastheMeyerSoundM2Dselfpoweredlinearray,sothatwaswhatwewentfor.”

Afteralengthyperiodoftweaking,SalaSuggia’sMeyerrignowcomprisestwinhangsof10M2DmodulesasthemainL-Rsoundsource,witheachhangtoppedoffwithapairofM2D-Subs.FourofMeyer’sUPJ-1Ploudspeakersarefloor-mountedforfront-fillcoverage,togetherwithfour700-HPsubswhichcanbearrangedinanumberofconfigurations,dependingontheperformance.FourUM-1Pnarrow-coverageloudspeakersandtwoUM-100Pwide-coverageboxesareusedasstagemonitors,whileaMeyerSoundGalileoloudspeakermanagementsystemisusedtoswitchbetweenconfigurations.

“WestartedwithfourdifferentsettingsfortheGalileoandarenowworkingontwomore,”revealsCosta.“Thedifferentsettingsreflectalternativeplacementsforsomeofthespeakers.Forexample,ifaparticularperformancerequiresmorespaceonthestage,wecanstackthefloorsubsratherthanarrangingthemin-line.Wecanalsomovethem2mfurthertothefrontifthemusicdemandsit,oralternatively,foravant-gardeperformanceswheretheydon’tlikealotofbass,wecanswitchthemoutaltogether.”

Whenitcomestoaudiodistributionandmixing,SalaSuggia’svariedrepertoireagaindemandsaflexibleapproach.CostanowhasaDiGiCoD5,twoYamahaM7CLsandtwoMidasHeritageconsolesathisdisposalandcanplacethemwhereverhewantsinthehall.“Atypicalclassicalconcertmightrequirenomixingatall,someavant-gardeperformancesrequirealotofdigitalrouting,whilearockbandmightwanttostickwithatraditionalanalogueconsole,”Costareasons.“Ourartisticprogrammeisverydynamic,soweneedalotofflexibility.”

Sala2takesthisconceptevenfurther,withnofixedlayouttoitsseatingorstageposition,letaloneanyotherequipment.Nonetheless,CostahasspecifiedasecondMeyerSoundpoweredspeakersystemhere,withtwopairsofUPA-1PboxesprovidingthemainL-Rsource,four650-PsubwoofersforthelowendandapairofUPM-1Penclosuresasnear-fills,plusafurtherGalileoprocessor.

“Sala2isamuchdrierroomthanSalaSuggia,”saysCosta,“butthatdoesn’tmeanwecanaffordtobecomplacent.Forexample,weoriginallyhadMeyer’sUSWsubsinhere,butwechangedthemtothe650-Psbecausewereallyfeltweneededthe18-inchdriversforcertai